#video and not gif because the sound is a key element here

[usergif]

HOW TO: Make an Animated Sound Wave Overlay

In this tutorial, I’ll show you a quick and easy way to get this animated sound wave effect that’s unique to any song you choose! (You can check out a similar effect in my Obi-Wan Kenobi and Miles Morales gifsets too.) Disclaimer: This tutorial assumes you have a basic understanding of gif-making in Photoshop.

PHASE 1: Make Sound Waves Using VEED.IO

You can do this using several methods like downloading sound wave videos on YouTube and making them into gifs (which I’ve done before too!). But I’m going to show you how to make sound waves specific to the song of your choice using a free site called VEED.IO

1.1 – Upload a YouTube link of your song to VEED.IO Open VEED.IO and click Choose Video! Try to find a studio recording if you can, instead of a clip of the film/tv scene which might have distracting background audio that could influence the sound waves.

UPDATE 09/17/23: At the time of writing this tutorial, VEED.IO allowed you to upload a YouTube link directly. However, I’ve been made aware that this doesn’t always work with the new version of VEED.IO. As an alternative, you can instead download the YouTube video using any video downloader and use the “Upload a File” method instead!

1.2 – Make the video a black screen. If the video you used isn’t already fully black, click on your media in the timeline and toggle over to the Adjust tab. Pull the Brightness slider all the way down to -100 until the screen is completely black. This black background is key to getting a seamless blend on your gif later!

1.3 – Insert sound waves. Click Elements in the left sidebar and navigate to Sound Waves. Select any sound wave design you prefer! I like the vertical, rounded orange bars. Don’t worry about the color when you choose, we’re going to change it to white later!

1.4 – Trim your audio clip. It’ll depend on the amount of frames in your gif, but you shouldn’t need more than 10 seconds of your song. You can choose to trim based on the scene of your gif, the lyrics you’re going to type on the gif, or even just choose a section where the music goes wild and the sound waves move a lot. In this Max gif, I took a clip toward the end where the lyrics are: “I’d be running up that road, running up that hill, with no problems” because it matched the main clip I giffed. Use the white parallel lines to drag the clip where you want it to start and end:

1.5 – Adjust the audio decibel controls. (Disclaimer: As with most things, I know almost nothing about what I’m doing here. 🤡) I just know that I don’t want the bars of my sound wave to be clipped like they are below, so I have to change the decibel range so the loudest part of my audio doesn’t go “outside the lines.”

I changed my minimum to -100 and my maximum to 25:

1.6 – Make your sound wave white. Still in the Edit Sound Wave window, change the color of the bars to white. It doesn’t matter what color you want your sound wave to be in your final gif — we’ll change it later! White is the best base for any color, especially if you want the gradient/exclusion effect in the overlay. 

1.7 – Resize the sound wave to your liking. Use the corner sliders to enlarge the sound waves. I always prefer making a big gif smaller than trying to make a small gif bigger (and grappling with a low quality image). So I like to resize my sound wave as big as possible, cutting out any bars that don’t move so I can have a high-quality animation in the end. :)

1.8 – Export as a gif. One of the most convenient things about VEED.IO is that you can export the sound wave as a GIF! So you don’t have to screencap it yourself. Click the export button in the top right corner, select Export Video, and then download it as a GIF.

And here’s the sound wave gif I got:

Don’t worry about the watermark, we’ll take care of that in Phase 2. :)

PHASE 2: Overlay Sound Waves On Your Gif

Note: I’ll be working in Video Timeline for the most part of this section! If you want to see my process in Video Timeline, here’s my step-by-step gif-making tutorial.

2.1 – Make your base gif. This is all up to you and your style! I like to make my sound wave gifs color-focused and I think blending adds a nice touch. Also, my gif is 540x540px. Now, one of the most important things to remember is this: make sure your frame delay starts out at 0.05 seconds, even if you work in Video Timeline like me. This is crucial to make sure you don’t get duplicate frames when adding the sound wave gif.  2.2 – Import your sound wave gif. Create a new file by opening the gif you exported from VEED.IO. Change the gif’s frame delay to 0.05. This is to match the base gif so that when you convert to Timeline, you don’t get duplicate frames! (Note: I also deleted the first frame of mine because all of the waves weren’t moving.) 2.3 – Resize the VEED.IO gif and convert to Video Timeline. For my gif, I resized the sound waves to 505px width and then I used the Sharper action in this action pack to convert to Video Timeline. (You can read more about how I use these actions in the gif tutorial I linked above!) You can also remove the sharpen filters if you feel you don’t need them! 2.4 – Hide the watermark. Create a layer on top of the gif layer and use the Marquee tool to make a box around the watermark. Use the Paint Bucket tool to fill that box with black so the watermark disappears. 

Select both layers (the black box layer and your gif layer), right-click, and select Convert to Smart Object to merge the layers together.

2.5 – Drag/duplicate the sound wave gif over to your base gif. Either click and drag the sound wave layer into the tab with your base gif OR right-click the layer, select Duplicate Layer, and choose the document you want to paste the gif to! Make sure the sound wave layer is above your base gif! 2.6 – *OPTIONAL* Create a music player overlay. This is just a style I came up with because I’m currently obsessed with rounded shapes. But you don’t need to have the semi-circle music player for the sound waves! I just like how it looks. For my design, I just made a white ellipse, created my own shapes for the play and skip buttons and masked them out, set the blending mode to difference, and added a gradient overlay. 

I won’t go into my design in a lot of detail here because this is a style choice that’ll be unique to how you want your gifs to look. Plus, this is just a tutorial on how to make animated sound waves. But if you have specific questions about my gif style for these kinds of sets, feel free to ask me at my main @sith-maul​ :)

2.7 – Set the blend modes. Put your sound wave gif in a folder and set the folder’s blend mode to Exclusion. Put that folder inside another folder, and set this folder’s blend mode to Pass Through (it should do this by default). Here’s a screenshot that hopefully explains this clearer:

Now, your sound waves should have gone from looking like this:

To this:

You can totally stop here if you like this look! But I want my sound waves’ color to match the rest of my gif, so... 2.8 – Add a gradient map. Within the sound wave gif folder (the one set to Exclusion), add a Gradient Map layer above the sound wave gif: 

I recommend going for a Black to Color gradient because the black will help the background of the sound waves stay dark and fully blended with the rest of your gif. I went with this Black to Red gradient:

Now my sound wave gif looks like this:

But I don’t like how there’s now some cyan peeking through where the bars touch the lighter gray parts of my gif. So, let’s add one more adjustment layer. 2.9 – Add a Hue/Saturation layer. In the outer folder (the one set to Pass Through), add a Hue/Saturation layer so it’s above the other Exclusion folder: 

Decide what color you want to get rid of (in my case, cyan), go to that color channel, and adjust the hue slider until that color matches your main color as best as possible!

PHASE 3: Export Your Gif!

As always, when you convert your gif back to frames, do a quick double-check that you didn’t end up with any duplicate frames before saving your gif. Again, you can read more about how I do these steps in my gif tutorial here. Finally, with just a little extra nudging layers around, my gif looks like this now:

Of course, for my actual gif, I created a music player design — so I decided to only use the upper half of my sound waves to fit inside the half circle. I’m sure you know how I did this already, but in case you don’t, just move the sound wave gif down the canvas to your liking until only half of the waves are visible! I like using this method where my sound wave gif is under a gradient overlay because of how dark it makes the sound wave bars and how I don’t have to get rid of any cyan colors:

But that’s it! I hope you found this tutorial helpful and easy to follow! If you have any questions, my main inbox is open @sith-maul​. If you decide to try out this effect, feel free to tag me with #usernik or tag us with #usergif ! Thanks for reading :)

#gif tutorial #completeresources #userkosmos #usershreyu #uservalentina #useralison #usernums #tuserkay #usercim #userannalise #useryoshi #userelio #tuserabbie #uservivaldi #userstar #usernorah #usersole #*usergif #*tutorial #by nik #stranger things spoilers #flashing gif

[anglaoshi]

Red Rapture - Algger - Hello Dance

It’s time to discuss Red Rapture. When I reach for words to describe this piece, I keep coming back to magisterial. It’s not quite an appropriate descriptor in a literal sense, but this choreography feels overwhelmingly authoritative and complete nonetheless. Certainly, the emotional center of this piece is Algger’s leading energy as he lords over the ensemble with a sense of expertise or mastery. So too is there a feeling of historical fiction, anachronism, or place-out-of-time-ness. 

On the subject of Algger as magister, this work opens with a bit of expert insight in the form of a title card, which reads:

In order to be despicable, prey upon other people You can escape the people of the world, but you can’t escape the customs of the world <<--Red Rapture>>

Some notes on the language here: The first character, 以, indicates instruction. And the phrase we have translated as “prey upon” is also used as “rapture” in “red rapture.” From what we can gather, this is Algger’s original aphorism (please chime in if you know a different source!). I appreciate his flair for the fictional here. Highly produced, narrative, or cinematic dance videos usually aren’t my favorite, but I appreciate the plotting effort nonetheless. Many thanks, as always, to our illustrious translator and all-around legionfairy, @briochebread.

The lighting design is an important component of the mood here, with Algger being emphasized by warm white key light in an otherwise dark red scene. Even at the midpoint, where Lancer receives narrative focus, she doesn’t receive the same lighting treatment. This video is more heavily produced than most of Algger’s or Hello Dance’s other works. Even though they are performing in their usual venue, the space still feels unfamiliar and much more self-contained or isolated than this stage usually feels because of the way the light drops off around the edges. The music for this piece is a remix of Mop Head by glitch hop icon edIT, an interesting transformation from its brooding, emotional roots into an impactful and dark sound. I like the costume design too– I believe the 昂 icon skirts are from his Tokyo Gegegay fashion collab. 

Of course, the most notable element of the costume design is the red blindfold Algger wears. The design of the blindfold fabric itself is a bit subdued, and it fades into the red light that washes the set in a way that produces dissolution or ghostliness. Blindfolds are not so uncommon as props in dance, but they’re always a cute little flex. Dancing while blindfolded is quite difficult, since dancers can’t coordinate visually with other dancers or visually monitor their own performance. Moreover, a blindfold changes your balance and proprioperception (the sense of where your body is within space, and how it’s moving). In this case, Algger’s blindfold serves to raise the stakes regarding precision of movements among the ensemble. Thematically, it’s a binding whose removal (at the midpoint of the performance) signals a shift in power. 

The piece opens with a scene in which Lancer, the narrative antagonist, places the blindfold over Algger’s eyes. I think it’s appropriate to read an eroticism into this scene. Algger’s aesthetic sensibilities in this era were heavily influenced by his beloved Tokyo Gegegay, whose work venerates queer eroticism. (Note: The linked music video isn’t explicit but it’s slightly NSFW anyway. ダンスが僕の恋人 is my favorite fetching fever dream of theirs. Mikey is so gender that it makes my eyes feel like they’re melting a little.) Tokyo Gegegay’s eros manages to be hamfisted and bijou at the same time, to a charming effect. Red Rapture’s emulation of the same is underdeveloped by comparison, but one can appreciate the aspiration.

Symbolically, the thick red band of the blindfold ties Algger’s costume design to Lancer’s thin red headband, emphasizing Lancer’s role as the secondary character/antagonist of the piece. When the blindfold comes off, it signals a shift in the balance of power for both the characters of Algger and Lancer, as well as the choreography itself. The first part of this piece is highly detailed, precise, and intricate. The second part carries the ideas of the first into larger, more cinematic designs. As is expected of Algger in this era, the dense and finely detailed hand designs are much better embodied than the fullbody designs. But, being not-that-great is an important stage of growth, and the latter half of the performance still has its share of enjoyable moments. 

The thing about Algger dancing extremely Algger’s Shit in an ensemble is, he really is peerless when it comes to his characteristic techniques. The ensemble has made a really admirable attempt, and when you let the performance wash over you, it’s not too noticeable. Given the plot and the overall vibe of this piece, which relies on creepily mechanical, synchronized, rapid movements, this work is better for the presence of the ensemble. Still, Algger’s hand designs have an inimitable depth of ornamentation, and the incredibly clean margins on their execution are part of his signature style. Frame after frame, beat after beat, image after image, Algger dance is dark time wizardry, and no one else comes close. 

This open-palmed descending zigzag is the first moment with big impact, an unusual and arresting design. This choreography is built on two major geometric foundations, right angles and half-circles, fractally combined and recombined. We’ll see a descending zigzag like this again in the midpoint of the piece, in a full-body echo by Lancer.

We see the two-shape motif in this little moment, where the right angle and the arc occur together. This move is almost cutesy. There’s something demonically charming about it. 

I love these twisting hand circles, a signature feature of Algger’s hand performance through the eras. In this choreography, circles evoke themes of containment and reversal. In this design, digits crawl in a way that foreshadows my favorite design in this piece: 

This little monster is so creepy! It’s a very strong isolation as well. You can really feel the scramble of the hand-creatures against the immobile landscape of bodies.

While the first half of this piece is mainly characterized by intricate hand motions, it isn’t completely devoid of big designs: Here’s a baphomet! I appreciate the restraint employed in the execution of this design, which flits scarily through the choreography without stifling the momentum.

After a long period of heavy synchronization, we get this striking little break. The backup dancers sweep their arms in a hemicircle, and there’s a eerie deceleration to the arc. Meanwhile, Algger has a mini-solo with highly graphical imagery. The designs seem to evoke some kind of magic, perhaps a summoning. The slow motion of the ensemble is juxtaposed with Algger’s quick, precise designs, creating a dreamy effect like swirling haze.

I quite enjoy this over-the-head hand wave. It’s cute, smoky, and a bit whimsical. Unfortunately, it’s rather lacking in fluidity, especially in the left hand, resulting in an odd effect where the move is half-fluttery, half-fluid. Ambidexterity is hard, and anyway, I do always appreciate a nod to classic voguing sensibilities, with whirling hands set close to the face like this. 

This first part is so great, thickly layered with cute little monster designs in between each of the concept-moments I’ve highlighted here. It’s a 45-second torrent of visual delectables.

The second half of this piece increases in scale, with both the movements themselves becoming larger and the choreographic phrases becoming longer. Here we see the results of the summoning, the unbound forces flowing from precise incantations performed in the first half. 

In the middle of the piece, Lancer gets the spotlight for a moment, with a series of isolations expressing the motifs of hemicircles and zigzags. In the background, Algger perches grandiosely on a seat-as-throne, removing his blindfold as Lancer dips low with a wavering body.

When the camera turns its attention back to Algger, minus the blindfold, performing a threatening and triumphant return, exerting physical-magical control over the ensemble (minus Lancer). This second part utilizes a much larger sphere of motion, but it’s still the hand designs that are the most arresting.

For example, we see the delightful return of hand-creature, another moment of reversal. This movement feels avian, contrasting its previously monstrous connotation. Instead of descending toward the elbow, here it seems to be released from a hip pouch, leaping into the air over the shoulder before fluttering back toward the dancers’ faces, melting into the next moment. This design makes my heart race, so graphic and sharp.

This big design is the major motif of the second half. Full of rampaging power and malevolence, the monstrous energy assaults cinematic reality itself. This is a bigger and wilder permutation of the circles and right angles we've been seeing throughout the piece.

There’s a bit of plot in the middle of the second part that I struggle to fully narrativize here. Among the intercut images, there is a shot of the blindfolding scene, then a powerful pose by Algger. At the end of this temporally unmoored sequence (another consequence of the performance’s reality warping power) we see the blindfolding image once more, then Lancer opposes the rest of the group for a mini-solo. At first it looks like they’re going to have a dance/magical battle, the ensemble riffing on Lancer’s moves. But that idea is pretty immediately dropped, and instead, Lancer performs a series of moves that culminate in a force wave that staggers the ensemble, who regroup and move on. I’m not entirely sure what to make of this section from a story standpoint. It’s useful for pacing, however, drawing out some tension with relatively sparse motion, to contrast the energetic and direct finale. 

This penultimate moment is my favorite in the second half. The little twirl is so bewitching! There’s an exuberance to the execution that makes the character a bit cute. I like the arm wave too, it seems to evoke tentacles, or perhaps tendrils. In many ways, the dance itself, the ensemble, represents an eldritch being. Revealing these unexpected facets at the end here, showing the audience its personality and physicality, is a surprising turn. Where before we saw wickedness and drive, now there’s a hint of sweetness, the charm that is the true source of this being’s power.

Red Rapture has one of Algger’s strongest endings ever. In the finale, we see a reversal of the introduction. Instead of passively submitting to the restraint of a blindfold, Algger dominates the ensemble, bending them to his will, before degrading us, the viewers, spitting in our faces. I’m a professional, so I won’t say, “yes, daddy,” but also… I wouldn’t not say that. This type of ending is emblematic of Algger’s choreography in this era: kinky, transgressive, and alienating. Choices like this are weird and they make you feel off-balance, the sensation of transitioning suddenly between realms.

Unlike most of Algger’s choreographic work, which is typically set up to document a dance performance without elaborating much utilizing the film medium, this video is heavily produced, with artistic editing, cinematography, and explicitly narrative elements. I certainly don’t prefer this approach to dance performance videos in general. There’s such a gulf between the artistic foundations of dance and film that it’s difficult to synthesize the genres, even for individuals who are expert in both fields. This attempt is serviceable, even pretty good, though– the cinematic elements serve their purpose, creating a depth of story and atmosphere that envelops you. 

Overall, this piece is an excellent specimen of mid-era Algger. Dark, dense, imaginative, and esoteric, it draws you in even as it strands threateningly apart. I cannot understate the appeal of this type of visually lush, thematically occult, narratively opaque work. No matter how many times I watch it, or how carefully I look, there is always more mystery, fear, and surprise that keeps me in its thrall. 

Thanks to @kamicelll for the request! And thanks for your patience- I find that sitting with a work for a while really deepens its criticism. 

Next installment: Worth It, Algger’s charming and lyrical take on the electro-soul masterpiece by Moses Sumney.

Post-script

I struggled with whether to include these, but I have Opinions regarding Algger’s body in this video. So, if that’s not your jam, thanks for reading, and I’ll catch you next time. Otherwise, put on your “let him cook” goggles and let’s dive in. 

In general, I think fatter dancers are usually more interesting to watch. Thin dancers are terribly common, and there’s something grating about the dance industry’s tendency to cast the exact same body type in every role. Fat bodies are, artistically and aesthetically, highly valuable. They create variety in momentum, friction, and volume far beyond what can be expressed by thin bodies alone. Given the world we live in and the culture of professional dance especially, fat dancers carry a disarming pathos and emotional valence. Dance is infested with a trite devotion to its endless deluge of too-similar bodies, and I resent the constraint. There’s no true artistic reason to choke the human bounds of an art form so viciously. This obsession with thin dancers is art subordinated to mere (fascist) aesthetic. I hate it.

Regarding Algger specifically, he’s gotten so thin lately! Obviously, it’s his body and he can do whatever he likes with it. But a devotee worries. I’ve been spending a bunch of time on Algger’s new videos recently, and it’s quite a different appearance than in the era in which this video came out. He’s got such a normal look right now! His edges are flatter now, clothes drape differently across him, and it’s just so dreadfully ordinary. Ah, maybe I’m pouting too much.

In Red Rapture, the signature features of Algger’s choreography produce a sublime, elegant impact from upon this softer body. There’s a lovely contrast between the sharpness of the motions and the sweeps of Algger’s physicality. At the same time, his body, contrasting the waifish ensemble, emphasizes his role of otherworldly power and dominance. 

I don’t mean to be prescriptive or nosey about Algger’s body size. As I said, I wasn’t sure whether to even mention it here. It’s not really my business. Furthermore, I’m aware that I’m out of step with mainstream opinion on these issues, and I’m not interested in tedious internet bickering. But it’s such an essential part of my experience of Red Rapture. As a piece of embodied performance art, the soul of this work can’t be compartmentalized or dissected apart from Algger’s body (and the bodies of the other dancers, but those are both less interesting and less emphasized by the production itself). Ultimately, my criticism would be incomplete if I didn’t address it. 

#algger #angang #昂昂 #hello dance #request #choreography #arts criticism #voguing dance #urban dance #Youtube

[moviewarfare]

A Review of “The Super Mario Bros. Movie (2023)”

Nintendo has decided to give another attempt after the disastrous 1993 live-action Super Mario Bros movie. Super Mario is a huge part of my childhood, so I was thrilled at the idea of a movie that actually resembles the game. I was a little put off by the not-so-positive critic's review but is their score justified?

Let's get the biggest worry out of the way, Chris Pratt as Mario. He is all right in the role. I think he does a good voice for Mario that works for the whole runtime. Likewise, Charlie Day as Luigi is good as well. The first act of the movie with Mario and Luigi together is incredibly enjoyable. The pacing is great and they do a great job illustrating the strong bonds between the brothers. This is also thanks to the great chemistry between Chris and Charlie. In terms of great voice performance, Keegan-Michael Key as Toad is terrific. We have seen in interviews that he does the high pitch voice without just sound editing tricks. His voice as Toad works perfectly for the film while still having the same energy as Toad in the game. He is only outshined by the best voice performance in the whole film, Jack Black as Bowser. Jack Black gives a voice performance that actually sounds different from his normal voice to the point that you won't be able to tell it is him. His voice was perfect as Bowser's as he gave a menacing tone but a slight goofiness to the performance as well. Charles Martinet (the video game Mario voice) is also here and not just as a cameo which I appreciate as well.

Brian Tyler is the music composer for this film and he does a great job. They incorporated a lot of the great music from the Mario games into the film wonderfully. He sometimes does it subtlety and sometimes uses it fully for big moments but it is done tastefully. The visuals are also great and they did a great job of making the world of Mario look alive. This is definitely one of Illumination's best-looking films. There are also some great, enjoyable action sequences such as the obstacle course that reminds you of the classic games, Mario vs Donkey Kong, the Rainbow Road, and the whole final act. These sequences utilize the elements from the game superbly. On that note, there are so many references and easter eggs to not just Mario but Nintendo in general. There are easter eggs in the sounds, the music, the visuals, and the dialogue and it is just a lot of fun spotting it all. There is no doubt that this movie was created with the fans in mind.

However, I do have some issues with this film. The first is the plot splitting up Mario and Luigi. It was great seeing them interact but the movie hints at some issues in their relationship and the movie could've explored their brotherly relationship. Unfortunately, the plot splits them up and changes it to be about Mario rescuing Luigi which is super generic. It's a shame, as the plot didn't need to be about Mario saving anyone as Bowser was already a looming threat anyway. The plot being straightforward isn't a massive problem though. The issue is that there is no proper character exploration or development in this straightforward plot. Every character remains the same from beginning to end, except for one character but they just change because the plot demands it to. It isn't naturally built up or earned. Peach's character is also just perfect with no flaws which is kind of boring. The pacing is also incredibly fast after the first act. The movie doesn't spend any time letting a scene breathe with our characters. It is always on to the next thing almost instantly. This is jarring as I wanted to see more of the adventures with Mario and Peach but this is just dealt with in a quick montage.

In terms of voice performances, I do have issues with some. Anna Taylor Joy is just phoning it in as Peach. She is just speaking in her normal voice and that is fine just because her normal voice suits the character but I wish she put some effort into it. Seth Rogen as Donkey Kong is another performance where they are just speaking in their normal voice. I don't like the casting of Seth and the film doesn't change my mind. On that note, Fred Armisen as Cranky Kong is another big miscasting. He doesn't sound old enough or cranky enough as the character. There is also a weird creative choice in having 80s song in the film. There is AC/DC Thunderstruck and Take on Me in the film and it is just very off-putting. These songs didn't work for the scene and I'm not sure why they put the songs in a Mario movie. I also didn't find the jokes laugh out loud funny but kids were laughing so it was maybe that the jokes just aren't funny for adults.

Overall, my biggest worry was The Super Mario Bros movie sucking. Fortunately, this movie does not suck and is actually a very fun movie. I do think the critics were a bit harsh but their criticisms are understandable. The movie plays it very safe with the plot and characters. There is not any meaningful message in this film. Nevertheless, the movie succeeds in delivering a fun Mario adventure that is fun for kids while being enjoyable enough for adults. A kid behind me in my theatre called it the 'best movie ever' so clearly it is doing something right! Hopefully, this movie opens the door for more Mario or Nintendo properties getting their own film adaptions. Luigi's Mansion, Metroid, The Legend of Zelda, Star Fox, Kirby! The possibilities are endless!

For more reviews like this visit:

https://moviewarfarereviews.blogspot.com/

#movies #films #Movie Reviews #Film Review #mario #super mario bros #nintendo #the super mario bros movie #the super mario bros film #the super mario bros 2023 #Chris Pratt #jack black #anna taylor joy #marvel #the legend of zelda #metroid

[miiracleangel]

midnight moments

with the hot middle blocker squad

Suna, Tsukishima, Mattsun, Kuroo and Tendo

how i feel some midnight talks with some of our favorite middle blocker boys would go.

⚠︎︎ light nsfw and mentions of nsfw but it’s mainly fluff and chaos with tendo

❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎❤︎

Suna

Your lift your head up from your boyfriends chest to look at the time.

2:34am

“Fuck me” you whisper to yourself annoyed

“How can you think about fucking at a time like this” your boyfriend sleepily asks startling you. Moving his body from under you and flipping you both over with his body hovering over yours.

“ You scared me, i didn’t know you were up” you said while looking wide eyed at the ceiling while your boyfriend starts kissing at your neck and trailing down your chest before coming to a halt.

“Wait so you didn’t say that to me?”

“No Rin I was mostly talking to myself but please continue” you say quietly and amussed.

“Fuckkk thattt i’m going back to sleep” he says as a pout forms on your face watching him lay his head on your chest.

“Talk to me Rin”

“about?”

“anything”

“Alright well today Osamu “accidentally” rolled the ball cart into Astumu today and instead of apologizing Osamu punched Atsumu in the face”

“Wh-“

“Apparently Atsumu ate Osamus breakfast instead of making his own and that was his revenge”

“which one is Atsumu and which one is Osamu again”

“I don’t know”

“Rin what” he lets out a breathy laughs at your response. “Osamu has the grey hair, Atsumu has the yellow hair” he answers

“When did you finally realize you can tell them both appear?”

“two days ago”

“oh my god Rin”

“I’m playing it’s been awhile, it’s not exactly hard to tell them apart.” he mumbles. His fatigue soon taking over.

“I keep mixing up their names” you tell your boyfriend as he reaches for his phone and starts scrolling through it and brings it to your face.

“You took a video instead of stopping them?”

“yes”

“why”

“That requires me to actually do something about the situation instead of enjoy it”

“Alright Rin” you laugh as he lifts his body up to lay back next to you, laying on his stomach with a arm laid lazily across your chest. Soon sleep starts to creep upon you as well.

“Rin?”

“Sleep hoe damn”

“You’re next to be punched” he laughs at your quick remark and scoots closer to you so now you’re face to face and he plants a kiss on your lips.

“sleep” *kiss* “sleep” *kiss* “sleep-“

“I love you” you interrupt as you turn on your side to face him. Eyes closed, sleep finally taking over.

Your boyfriend smiles at your sleeping form and kisses your lips

“I love you too”

Tsukishima

“Oh my god go to sleep it’s 3am”

“cuddle me”

“why”

“Because i can’t sleep and i’m asking nicely”

Your boyfriend huffs and turns around in your bed to face you and pulls you to his chest.

“Thank you” you mumble snuggling closer to him.

“I’m gonna move”

“Don’t you dare Kei”

“Too late i’m moving” he says as he moves to lay on his back. “Now i can’t fall back asleep” he huffs.

“Wanna talk about something?” you ask moving your head to his chest as he put a hand on your back.

“Sure how about we talk about the fact my needy baby woke me up for absolutely no reason”

“ I’m gonna pretend you weren’t trying to make me sound annoying because you called me baby” you remark at him.

“You’re a pain” he remarks back

“And yet here you are next to me” you spit back.

He always loved these kinds of talks with you just back and forth with each other always wanting the last word.

He won’t admit it though you’ll use that shit against him.

“I’m here because you wanted to date me” he continues.

“You asked me out”

“You said yes”

“I should’ve said no”

“You really should’ve” he says making you both laugh at your antics.

“Believe it or not i actually like you and enjoy your presence” you say lifting your head up from his chest and resting your chin on him instead. Seeing him smile to himself while looking up at the ceiling.

“Believe it or not” he says looking down at your face, rubbing the back of his hand on your cheek.

“I’m actually in love with you”

“That’s gross Kei” you say laughing as you scoot up to lay your head in the crook of his neck and start drifting to sleep. “I’m pretty sure i’m more in love with you though”

“That’s embarrassing” he adds

“I know” were your last mumbled words before you fell asleep leaving your boyfriend to cuddle with your sleeping form. Sleep creeping upon him as well.

“I definitely love you more” he whispers into your forehead before planting a kiss on it.

Mattsun

“Issei...Issei” you repeat your boyfriends name while poking at his nose.

“Two more minutes mom” he says with a smile on his face, opening one eye to see your pouty face.

“Awww does my widdle babie have twouble sweeping” he jokingly says with a baby voice earning a eyeroll and a smile from you. He turns over so you both are facing each other.

“Did i wake you up”

“Yeah but i woke up to your dumb face so it’s okay”

“I hate you” he laughs at your reaction and starts kissing your nose between his words.

“i’m kidding i love your face” he says smiling at the end. “You wanna talk about something”

“Like what babe” you say, your big eyes staring at him through the dark room.

“let’s play 20 questions”

“Goodnight Issei”

“I’ll start, what’s your favorite color?”

You look at your boyfriend with dead eyes.

“Y/f/c, but you knew that right”

“of course i did baby” he says with a light giggle. “okay youre turn”

“What’s your favorite food”

“ those cheese filled burger steak things, but you knew that right?” he says making fun of your last remark.

you giggle “of course i did baby”

“Okay Issei next questi-“

“Are you a virgi-“

“you know the answer to that already Issei”

“shit you right” he laughs out at he goes to hover above you and starts kissing your lips.

he flips you both over so your straddling his hips, his hands roam over your ass. Fingers tracing along the hem of your underwear as you rub your clothed slit against his growing bulge

You break the kiss and sit up, stopping your movements

Mattsun let’s out a light groan “no baby keep goin-“

“My turn, if Makki was a girl would you fuck him?”

he looks at you surprised.

“depends”

“ON WHAT”

“If he has a fat ass then maybe but if he’s as flat as he is right now then no”

you look at your boyfriend dumbfounded

“unless i’m with you then obviously not unless...”

“unless what babe?” you ask moving your body to lay next to him with your head on his chest.

“threesom-“

“good night Issei” you move to your side of the bed and face away from him as he has a laughing fit.

“no baby come back next question”

you huff “Last question” you say as he sees sleep is starting to take over your mind.

He smiles at your sleepy face “How much do you love me” he asks tracing your facial features with his fingers.

“Like THIS much” you say extending your arms as far as they go.

“Well i love you THISSS much” he says extending his longer arms the same way you did then he pulls you to lay on his chest as you soon drift to sleep.

“i love you” you mumble

“cap”

“issei”

“i love you too baby”

Kuroo

You huff as you leave your room to go get a drink in the kitchen only to be met with the time on the stove

2:38am

after your drink you slowly make your way back to your room to be met with your shirtless boyfriend sitting up on your bed.

“can’t sleep” he asks as he pulls you to lay your head on his lap as you shake your head at his question. “Talk to me”

“That’s what i’m doing right now”

“well keep talking”

he rubs his hand through his hair “What do you want to talk about?”

“I don’t know Tetsu tell me a joke” you say sarcasticlly just to get your boyfriend to say anythjng.

“I’d tell you a chemistry joke”

“Tetsuro”

“But i know i wouldn’t get a reaction” he says belting out his cackling laugh as you turn your head to look at him.

“nerd” you said to yourself loud enough for him to hear.

“You tell me a joke then”

“What do you do to your chemistry nerd boyfriend who keeps saying bad chemistry jokes?”

“i don’t know y/n”

“you BARIUM alive”

Kuroo laughs even louder at your joke causing you to sit up and smile at his face.

“That was good babe” he says wiping tears from his eyes.

“ I learned from the best” you say planting a kiss on his cheek.

Kuroo lays back down opening his arms to invite you to lay on his shirtless chest. You’re slowly being lulled to sleep by his heartbeat and slow breathing.

“How often do you make chemistry jokes anyway?” you ask him wondering if he annoys his teammates with the same jokes until you were pushed out your thoughts by your boyfriends giggle.

“periodically” he lets out another laugh as you roll your eyes.

“not funny didnt laugh”

“you kids don’t understand good humor”

“Kuroo you’re a month older than me” you say as he gives you another laugh

“babe”

“Tetsu”

“ You make me hotter then sulfur hydroxide mixed with ethyl acetate”

“you make me vomit” he laughs at your remark before kissing the top of your head.

You lift your head up to face him and he stares at you with an adoring face rubbing his thumb across your cheek. “don’t vomit on me” he says breaking your concentration, you roll your eyes and sit up on your elbows.

“Forget hydrogen, you’re my number one element” you say to your boyfriend before you kiss his lips to fall back asleep.

He just stares at you dumbfounded and a blushed mess.

“y/n”

“yes”

“I love you”

“I love you too nerd”

Tendo

my widdle chaotic babie

You wake up to a soft sucking feeling on your nipple and stir away to look down and see what you HOPE was your boyfriend stuffed in your shirt

“Satori?”

“mhm” he hums before releasing your nipple with a pop and wiggling his way through the top of your shirt.

“babe you’re going to stretch the shirt neckline stop” you mumble sleepiness still in your voice.

“I can’t sleep and this is my shirt anyways” he says now fully emerged so both your head and squished against each other.

you let out a breathy giggle as he kisses your cheeks “talk to me i’m boredddd” he whines.

“I can tell you a story” you said removing your arms from your shirt to hug your boyfriend who refuses to leave the comfort of inside your shared shirt.

“Make it good or i’ll bite your nipple” he threatnes scooting back down, emerging back into the shirt slowly.

“bite me nipp-AH”

he continues the light sucking on your nipples and waits for your story

“Okay fucker so Once upon a time” you started. “There was a little gremlin who woke up his master from their slumber when he SHOULD be fast asleep in his quarters.”

Tendo removes himself from under your shirt “This story sucks and it feels like an attack on my life”

He gets up and starts jumping on the bed.

“ARE U SERIOUS TORI?!”

“I. NEED. TO. SLEEP” he says between jumps.

“This isn’t the way Gizmo” you say laughing as he jumps down on his butt and laughs at the nickname.

“Gizmo wasn’t that cute when he was all angry and stuff” he pouts and you’re quick to comfort him.

“He was cute before all that and he is cute still now” you say not referring to the fictional movie character and Tendo smiles and plants a kiss on your lips.

“Come here my cute little gremlin” you continue and he takes his place cuddled next to you and gets attacked by your kisses.

“Emphasis on the cute right”he says letting you grab his face and plant kisses all around his cheeks and nose.

“of course” you say in between kisses.

He lets you continue the attack of kisses. Loving the attention from you.

“Do you love me?” he interrupts

“Of course Satori” he hums at your response and hugs you into his chest.

“Okay so that means you will stay with me forever?” he whispers back making it sound more like a demand than a question cuddling closer to you to fell back asleep.

“That was a little random but sure”

“Just cuddle me bitch”

“I am you cunt”

#haikyuu x gender neutral reader #haikyuu imagines #haikyuu x reader #kuroo x reader #kuroo tetsuro x reader #kuroo x gn reader #suna x reader #kuroo tetsuro imagines #suna rintaro imagines #suna x gn!reader #tendou x gn!reader #tendou x reader #tendou imagines #tendou satori x reader #suna rintaro x reader #tsukishima x reader #tsukishima kei x reader #tsukishima imagines #tsukishima x gn!reader #mattsun x reader #mattsun x gn! reader #mattsun issei imagines #mattsun imagines

[the-art-of-animated-gifs]

Interview with my friend A.L. Crego

I have not met A.L. Crego.  I have not spoken with him on the phone, in fact I do not even know what he looks like.  But I can confidently call him my friend.  Three years ago when I started this blog he immediately disagreed with me in the comments about things I was writing and I loved it.  As a person putting ideas out there, you treasure things like that....because you know someone cares.  We have had many back and forth discussions over the years....if we had lived in Paris in 1911 we would be having arguments at La Rotonde (not to compare either of us to Picasso).

A.L. Crego is a motion artist who does a wide variety of things.  He has now become a very visible and active figure in the NFT Movement.  He recently completed a large and very successful project in which he animated the work of a number of well know street artists on the building themselves, something he has done for years.  His Tumblr page is a good place to start to see his work, which is largely surrealist in nature -- another Spanish artist following in the footsteps of other great Spanish surrealist artists.

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How long have you been creating gif art?

In a conscious and intentional way since 2014. Previously I haven't pay too much attention on one hand for its common use that was mostly ads and funny little videos, and on the other hand because it was a 'standard' format we accepted as something part of the web so I never stopped to analyze its potential. The key point for me was about 2010-2011 when the concept of 'Cinemagraph' was brought to life just giving it a name. It's format is .gif but its characteristics are different so I saw there the midpoint between photography and video, which gave born another format of art.

Art mutates when a new format appears. I was using and studying this format since then but it wasn't until 2014 that I decided to publish some of them.

What is your background?

In general terms, bachelor, 2 years of stone sculpting and two attempts of photography and audiovisual mediums. I say attempts because I gave up both of them as I was feeling that I was looking for something else more than studying all the previous history, style and isms, which is nice to understand where everything comes from and to be aware what are the key points on the history to use as reference, as a map. But in some way I felt limited as I was using digital tools since I had my first computer with 14 years, and I was being taught things I learnt by then. Even more in this times we are living where we are 21 century people, been taught by teachers from the 20 with 19 century methods.

A constant line that feeds my background is literature and music overall and later Street Art, next to more temporal interests as everything related with mythology, alchemy, history, psychology, neurology, biology, human condition in general... I don't have studies buy I'm a studying guy!

I always like to highlight that all these years that internet got strong and social networks appeared, I decided voluntary to be out of them. First reason was to keep my privacy safe in a growing world where it seemed that some "curtain" felt and everybody accepted that intimacy was now 'ex-timacy' and correct to show their private life, (this shocked me). Another reason was about the psychological effect that social networks were having on people I had around and everywhere in general. I started to notice patterns and "waves" about series, aesthetics, styles, and I was seeing clearly that if I go there, I will become permeable to all this "Amniotic Culture" I was trying to avoid.

This fact of being far (but study them closely) helped me a lot about researching and developing my own ideas and style, for the mere fact that I was using all this time and attention Social Networks require, on drinking from another sources. The B-side of this is that I was 'out of the radar' of mass people as this social networks are designed to live inside them. My idea of internet and spreading ideas is not in this way.

Where do you live and work?

In the north west of Spain, Galicia. Now due to Covid I travel less but before it, I was working and traveling many places as I only need a camera and a computer. This allows me move to work anywhere.

Do you think that animated gifs are a new art form?

I think so, despite the fact that the format existed since 1987. But as every new format of art it takes its time to be considered as art. The first photographs were not considered art until many years later. Same happened with film, same with CGI. Is nice to have in mind that gif format is the last strictly digital format of the three main ones on the web: picture, video and gif. Photography has about 200 years of history, video about 130, CGI about 60. Finally gif has 33, and used as art itself no more than 10-15. In the same way anybody takes a picture of anything does not convert it into art, is the same with gifs. One thing is the format, another is the 'art'. Everybody can take a picture, record a video or do a gif. The difference is on the how, the why, and from my point of view overall, the what.

Do you think that there is a difference between pure .gif files and the .mp4 files that people post on Instagram?

The first, big and obvious difference is the format. Is not the same a painting as a picture of a painting. Here happens the same. For example, if you treat a gif with Cinemagraph technique, you are converting in picture some parts of the image, so they still remain and with the texture and totally stillness of a picture. If you convert this gif into a mp4 this still parts, despite not having motion, will convert into a video texture (noise, subtle motion in pixels, etc) so the main characteristic, among the perfect loop, is lost. Another point is that you must play a video, a gif is always running. Waterfalls are always running and this characteristic is something that is inside our human nature, we react nice to "bucle" motions as waterfalls, fire, etc. We find pleasure on this. Of course if it's a video the perfect loop is lost and the visual mantra disappear. And another key point here is the soundtrack. In a video you can use sound to enhance or give another meaning to the piece that you can't with gifs. For me this is another characteristic that give meaning to gif. For me gif is silence, the sound is generated by the motion, the melody are the details and the beat the perfect loop. You can "hear" almost every gif.

The difference between a gif and a video is the same that between a waterfall and a hose (if this works).

What do you think are the characteristics of good gif art?

For me first and overall the perfect loop. Not using it is not using the only format that has this characteristics. Of course there can be gif art that is not perfect loop, but from my point of view and in my work is a must. It's a new way not only of creating but also of thinking. Imagine an still scene is easy, imagine an A-B point action is easy. For me the challenge is about thinking an idea that is perfect looped where all the elements interact and eventually come back to its initial point. Succeed doing this is where the perfect loop appears and you are not able to find where is the start point of the action. Like a visual mantra, that it's repetition leads you inside the piece. Gif art is nice to use the power of the hypnotic movements. Another point to have in mind for me is the flow of it, the frame rate I mean. Depending on the idea and the kind of animation this should vary; is not the same fps to achieve something with flow than if you want to achieve a more 'retro' old style. Another thing is about dithering and color palette. This second one is essential to understand as it affects the final file. When we work with photo and video we are using millions of colors but when rendered as gifs all the gradients, lights and even colors will change if there is a previous understood of this point.

As summary: If motion doesn't add, change of enhance the meaning of the piece, is expendable.

I'd would like to add that I'm not really supporter of this kind of gifs generated automatically that just move a still image itself. I understand that this 'technique' is used as a tool for certain motion (I use it) but not to move a whole image. I feel the same as if somebody hold a painting in front of me and moves it randomly. If the work was born still, it must remain still. A good example of 'inner motion', this means that the motion is implicit on the image despite not being in motion, are the photographs of Cartier Bresson for example. Giving motion to this pictures for example, will kill it because it will break the concept of 'perfect instant' .

'Instant' differs etymologically from 'moment' in the motion. So, still image (painting, photo, sculpture, etc) is an instant, videos are stories with a-b point, and gifs are moments, the mid point.

How would you describe your gif art?

I usually condense it as "Visual Mantras", as the technique and the aesthetic vary depending on the idea , but in all of them the perfect loop and the intention of hypnotizing is always present.

In another terms about aesthetics and themes I think ‘Industrial Nature’ can fit nice. I use a lot of industrial elements but I like to mix their mechanics with the biological natural ones.

How long have you been creating and selling NFTs?

I am selling NFTs since mid 2019, but it wasn't until October 2020 that I focused more on it and dug into the ecosystem to find new paths to focus my work.

Do you think that NFTs are a positive for gif artists?

For me, and the main reason I jumped into cryptoart and NFT, is that now I can certify my digital work as original. Even more to gif works as they were always understood as something banal and minor for the context of its born. Gif art was born prostituted, used mostly for ads and to claim our attention on the internet, next to the highest glamour of painting and traditional art, and 3d, photography and video these last decades. Even worst if we realize that gif format was the only visual format born by and for the internet.

NFTs are totally positive for gif artists because despite being a digital/online native format it never had its own ecosystem to live in. I feel that I was creating creatures for an ecosystem I was waiting to drop them there. Now with the blockchain, NFTs and cryptoart, I found the place where they can live, being watched by everybody and have the certify that is my work. Until some months ago my work was "free" on the web and I had no control over it at all. This was a huge problem I was suffering since my first month into gif art as people use it indiscriminately with no credit at all. It's ok, and I always defend that my work is to be seen, to be shared, but I was looking for the way to be able to have this link with my work without losing the option of being available for everybody. NFT totally changes this.

What do you think will happen in the future as NFTs get even more popular?

In general terms I think it will happen the same as when print got more popular. People will use it more, a lot of crazy and useless things will appear, tons more of different uses and useful purposes, (not only on art). This opens a new door a lot of people was waiting so the future is unpredictable but we can feel where things are going. NFT arrived to stay and the concept of decentralization is something that was always present on the internet since first days but born inside a centralized system. NFTs are being a way for people to understand the 'peer to peer' philosophy and this makes people think in different codes, so we can expect a lot of new horizons, in art, music, design...

What do you think of the environmental impact of NFTs?

This question can goes really deep but in general terms I think that is something that is being oversized due to the hype and the boiling point we are, and it's understandable because is not false that it has an environmental impact, as everything does. But on the other hand I have two main areas in mind. The first and the obvious from my point of view is that when something is new and developing is less efficient, in the way that it requires more effort to achieve the result. But at the same time, the more this technology is used the more is developed and all this issues are part of it. The first car was not electric.

The second point that usually reverberates in my mind and that it seems that 'hard critics' omit is that they are not having in mind that this NFTs we mint, give us a profit that can be used offline to do another things that can be useful to solve this problem, for example, investing part of this money on living on our own in a minimal and clean way (not working for huge multinational that their environmental impact is tons times more than NFTs and then being part of an ONG to feel clean) and on using part of this money on looking and researching new ways to mint and to keep this digital ecosystem more efficient and clean. Every development needs time.

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If you have found this content valuable considering getting me a cup of coffee

#gif aesthetic #street art #surrealism

[painfulbass]

☾ ˚⊹  ❛❛  GENERAL QUICK CROSSOVER GUIDE

So crossovers are usually difficult for a lot of people. So, because I tend to think about these things, I thought I would make this comprehensive list/guide to writing crossovers with me. This isn’t anything in concrete, but to get the ball rolling or to help make it easier for both sides to contribute to plotting. It can be hard when you don’t know the fandom.

FNF, or Friday Night Funkin’ is a rhythm based game around rap battles. The Protagonist (known as BF) is trying to prove himself and win over his Girlfriend’s (GF) Dad, and it spirals from there. Gameplay style, it is very similar to Dance Dance Revolution, and the music is a fast pasted dubstyle/chiptune soundtrack.

What a lot of people know FNF for, however is the Mods. Due to it being on Newgrounds, and the creators having it be open asset, many creators are able to make their own “weeks” for players to challenge their skills in. Ruv, and those within Mid Fight Masses, are one of those mods. You can find most of their lore scattered in the scenes of their week, or by going on their official FNF Wiki.

Now, what does this mean for crossovers? I put it under a read more, simply because this is going to be a lot. I’m going to explain crossover verses I have. How I make them, and how YOU could have your character be in the FNF verse quite easily. So go under the read more to continue reading.

☾ ˚⊹  ❛❛  RUV IN OTHER UNIVERSES

Here are some just ideas that I came up with. While not EVERY interaction will work with these, they are ideas. They’re meant to kick start ideas and inspirations. I do not consider these full verses until I’ve talked with the other mun to make sure that they are okay with it. These can easily be changed, and swapped out for different things. My main goal here is to try and keep Ruv down to his core elements while fitting into a new setting.

POKEMON- Ruv, along with Sarv run the church- which she has turned into a sanctuary and a Nursery. Much like in Canon, Sarv is supernatural, and Ruv as a run away criminal vowed his life for all eternity to protect her. With church’s going out however, the next next step would be a PokeNursery.           Ruv acts as protector of the Nursery from trainers and groups alike. He usually is seen sitting on the roof, throwing pebbles at kids or passerby’s who irk him in some way. You can always find his Onix, his Low-Key Toxtricity, and his Absol around him or the nursery at all times. He does still have his strength, speed, and other abilities. The “face” he has is also a mask- an attempt to hide his identity as the wanted criminal.

OWL HOUSE- Ruv was a wanted criminal for the longest time. His magic, due to where he was born was a lot less like those around him. He could fit into the covens, but anything he did reflected back on him. Living alone, and learning to just modify himself he became a wanted criminal with a bone breaking shout.            However all of those times soon came to a stop as he met the winged mistress he stays with now. Protecting her (though she is much more than capable of protecting himself) she runs one of the many sects in the area. It isn’t the best building, but it’s out of the way and he usually isn’t spotted. However, unfortunately his past comes back to haunt him. He has no choice, and begrudgingly assists the Guards to repay for his crimes.           Tied to Sarv through magical bonds, he has made it clear to those in charge and to her- should something come between his duty as a guard or her, he would chose her a million times over.

DUCKTALES- Ruv is the petrified remains of the guardian of St. Sarvente. Awoken as the earth was shifted off of it’s orbit and forced into something it’s not, the callous guard is in search of the one he calls Sarvente, whom he claims is the Ruler of Souls and the one he Vowed to Protect. He is, 100% made of stone.

TOONTOWN- Stickfigures aren’t uncommon drawings. One’s as complicated as he and Sarv though usually get a few eyes. Not only that, but video game characters are always treated differently in Toontown. Maybe it’s because of a developers history, or lack there of. The story of Ruvyzvat being a heartless killer however spreads like wild flower, and while he and Sarv will primarily stay at the church... sometimes curiosity becomes too much.

KINGDOM HEARTS- FNF is it’s own world. Keyblade turned into a microphone, Ruv & Sarv are some of the first that would be met. Despite their challenge, they are rather distanced from the troubles of the Darkness and Light and would be semi-good companions. 

THE BLACKOUT CLUB- Ruv is a 16. Any day will be the day that a voice will end up taking over, merging with his mind. That’s fine. Much like how Seed-The-Grudge would want, he’ll just get revenge.

HAZBIN HOTEL / HELLUVA BOSS- Ruv ironically enough is one of the few in Hell who does not make him dead. In fact, in some cases that can make him extremely rare. This crossover he IS able to accompany Sarvente into the Underworld, and follow her on her treks through it. While most assume he is a dead sinner, he usually just doesn’t answer. However something about being here and meeting those who reside within the land sets him off. He’s a tad more feral, and a tad more willing to go to the violent answer.

PORTAL- Violence core. What else is there to say? Alternatively, him being a test subject would be fascinating, especially if he was grabbed post-vow. The man is immortal, and therefore would have messed with the tests just by the fact that there is only way for him to die. Death isn’t the worst thing to happen to a man however, and he does still feel pain.

RWBY- Ruv has the ability to manipulate sound waves, specifically his own). Trained with great strength and and even greater speed, his form of combat is continuously dodging as he looks for a weak spot. Weapons of choice are shot gun snow boots, and his sickle that doubles as a short sword.

DOCTOR WHO- Sarv has the ability to create portals. While they are MEANT to be used to intergalactive travel, but instead parallel world travel that in of itself is monumental for a lot of DW plots. Ruv and Sarv can easily go from one universe to the next, however chose to stay in the church. Not to mention Ruv’s skills in target elimination and his abilities would make for some individuals to repurpose him into a weapon. While they have been approached by UNIT on several occasions, they always refuse. However, enough time has passed that they’re starting to notice that the couple in the church aren’t aging...

FNAF- RUVYZVAT and SARVENTE were creations of Fazbear Entertainments as karaoke machines... if we want to go the robot route. If we want to go the normal person route, Ruv was hired by Fazbear’s because it’s one of the few places that doesn’t do a background check, and when he said he wanted to wear a mask as part of the work outfit they were all for it. He runs the karaoke machine though. Stays away from quite literally everyone. While he isn’t the infamous killer of children here, he does have a reputation of his own that he is running from, and that does tend to make him silent.

BATIM- Criminal on the run stumbles into the wastelands formerly known as Bendy’s. Actually enjoys it at first because the cartoon was popular when he was a child. ALT. Stickman drawing of one of the artists come to life. Usually pretends to be Lost One, but when he’s alone with another (Sarvente) they turn into their stickman version selves. Has the ability to jump between 2 and 3 dimensions, but none of the strength or voice.

PSYCHONAUTS- Agent Ruvyzvat, Russian sector. Ruv is working for the Psychonauts in some weird, turning event. Mainly because the sole woman that he trusts and saved his life, Agent Sarvente brought him in. The two are inseparable, and despite Sasha and Nein being infamous for their clinginess, these two take it to a whole knew level. Ruve’s “loud voice” is actually a psychic ability he can use outside of the mind to jumble and confuse thoughts and has no damage on anything physically in the present.

GRAVITY FALLS- Sarvente is a Demon, much like Bill. Where sa Bill desires nothing but chaos and madness, Sarvente is trying her best to keep the world like it is and preserve it’s beauty. Seeing such beauty in a runaway criminal, she and he run to the forests of Oregon. Throughout Weirdmageddon, neither managed to be captured or turned to stone, however Ruv seemingly gained his incredible voice abilities. Now, they live in a semi-collapsed church out in the forest. Sarvente always asking those who come her way to join their church, Ruv is suspicious why such events would happen in such a small town, and is distrusting of most everyone he sees.

DETECTIVE CONAN / KAITOU KID / ANY ANIME OR SERIES LIKE THAT- VERY infamous criminal. Take his “Wanted Dead or Alive” that exists in all other verses, and ramp that up quite a bit. Usually wears a mask whenever he is committing a crime. He does seem to be in it for the fun, though it’s hard to tell with the stoic and expressionless looks. That being said, he does seem to have a very clear goal of what he wants. There are no patterns to where he hits, or what he takes. From wallets of people off the streets, to priceless artifacts. He’ll find where Sarvente went, and how they were able to change her mind in such a way.... how they could corrupt her.

MODERN / NON-EXTREMELY FANTASTICAL- Ruv is honestly a rather down to Earth individual, in some terms. He is untrusting of EVERYTHING, but also due to his own strengths finds little that fear or challenges him. Keep him mind he did make a deal with Lucifer (or his Lucifer) for Immortality for protecting her. While he will always be doing things on his own, a lot of his end goals and motives will come back to her. Without her involvement, he is a walking, talking, machine of destruction with no sway on which side he decides to tear apart.

☾ ˚⊹  ❛❛  GENERAL STOPPING POINTS FOR WANTING TO PLOT

DON’T KNOW THE WORLD YOU’RE FROM / YOU DON’T KNOW MY LORE. - That’s fine. I can get my hands dirty. I can research. In fact I usually would love nothing more to. I love learning about new fandoms, or new media to get into. You shouldn’t be afraid of that. As for mine- It should take someone less than an hour to get through all of the links I have posted in the RESOURCES tab in my bio. I’ve timed it. So if you have an hour to spare, or 15, or just enough time to read his wiki that’s fine. He’s not from a long running show, or anything like that. You can catch up extremely quick.

WELL WHAT ABOUT A BOOK/COMIC? HOW WOULD HE FIT IN?- If we are talking about Super Hero comics, then it depends. 90% of the time I will just play up his wanted status a lot more, and make it more of a reason for an interaction. You just ran into a man who has killed hundreds. If your muse is a super hero, or a vigilante? Would you let him go? What a villain? That might make a good partner.

TV SHOW? LIVE ACTION?- Again, it depends on the type of show. Superhero follows the same above. If it’s investigative, have him be a witness. Or a falsely accused man who can prove he isn’t the guilty party. Is it more supernatural- well he did make a deal with Lucifer and is an immortal now from it. There are a million ways to spin it. Don’t look at making him a big character. Quite honestly, side characters that you pass in the street have just as much backstory, and as long as there is a plausible chance of interactions then we can work it out from there.

☾ ˚⊹  ❛❛  GENERAL IDEAS TO BE AWARE OF THAT MIGHT HELP

HE IS A WANTED CRIMINAL.- Meaning his name Ruvyzvat is known. Despite his crimes going on for decades, he is on the run and never stopped. Several city, state, countries, and possibly nations are looking for him, and looking to take him in.

HE IS ALSO AN IMMORTAL.- While he hasn’t been around forever, and nearly not as long as Sarvente has been, he HAS been around for at least 100 years, give or take some. He can be injured, but even fatal injuries heal in an almost Deadpool like way.

HE ALSO HAS SUPERNATURAL POWERS.- His speed and reflexes alone is not something to be taken lightly. He does train and fight with Lucifer on what used to be a semi-regular basis. He has moved and adapted to be able to make sure no one but the singular person he trusts is able to lay a hand on him. That isn’t to say you can’t catch him off guard. You also have his inhuman strength to worry about, but most of all his voice. His voice which could completely demolish a building, and that isn’t the full strength. He has an amazing control over it, but that certainly isn’t a trait of his to ignore.

HE IS NOT ALWAYS IN THE CHURCH. I MADE SURE OF THAT WHEN I MADE MY BLOG.- He goes on walks, and he goes on errands. He also goes to the Gym on occasion, though not as often. He enjoys walks on the beach far earlier than anyone should be awake at. What I’m saying is running into him OUTSIDE of the church is possible. That being said, meeting him IN the church is your best bet for him warming up quicker. He feels safer in the church, and therefore usually wishes to stay there.

DOESN’T FIT THE STYLE OF CHARACTERS/WORLD? - If he doesn’t fit, then I can work to adapt him into something that WOULD fit. What characteristics about him doesn’t work. This is when I would need plotting help. If, lets say it was an all animal world, we can talk about what he is, his traits, and other such things. I am always happy to not use my icons- I just like to because I think they’re neat and I worked hard on them.

WHAT WOULD HE BE DOING?- Any number of things. He likes throwing pebbles at people. He mainly guards and protects Sarvente and her things, but I know we’re talking besides this. He cannot cook, but he does actually sew, and he does read quite a bit. Working on his fist to fist fighting would be a big one. He likes secluded areas, which especially work for explorer’s and people who walk off the beaten path.

IS THERE ANYWHERE HE COULDN’T BE?- He wouldn’t be at a bar. Ruv doesn’t drink, at all. I also don’t see him at any parties unless Sarv dragged him to them. Writing starters or plotting around those are perfectly fine, but do not expect his muse to be comfortable while he’s there.

HE SEEMS OVERPOWERED.- At times, he certainly can be, but only when he feels it’s necessary. He doesn’t flaunt his abilities, and most he has are out of self preservation. If you as a mun are worried about him and what he can do, the best thing you can do is read my information, look into his wiki, and then come and talk to me. Ruv isn’t someone who will 100% abuse what abilities he has, especially since now he is trying his best to be better for her since it makes her happy.

☾ ˚⊹  ❛❛  GENERAL IDEAS TO HAVE YOUR CHARACTERS IN HIS UNIVERSE

LOCATIONS?- The Church, the back alleys, the karaoke bar (that primarily does rap battles), the Alternate dimension that Sarv made so that he can be loud and not retrain his voice.

MOTIVATIONS?- If your muse is in the FNF world, then be ready for some sick beats to be dropped. Your muse could be rescuing someone from the BBEG and going through the slew of minions to sing against. There’s always the alternative side of this of “what the hell is going on?”

MY CHARACTER ISN’T FROM THERE, SO THEY WOULDN’T FIT IN.- Well I do have a “main” verse which replaces raps with fists. Looking for someone important to them, in the search of a deep and hidden artifact within the search, the rumors of a man born 100 years ago- theres a lot to be found in the library if you looked.

WHAT DOES THE FNF WORLD CONSIST OF?- It consists of Demon Daddies, Singing Skeletons and Pumpkins, Tankmen, a Demonic Lemon Demon, Sentient Video Game Characters, and if you take the mods in you also have Demon, Angels, Ghosts, Deadly Ex’s, Bomb Headed Men-- I promise your character will fit in at the end of the day.

ISN’T HE EXTREMELY AGGRESSIVE AND HARD TO TALK TO?- He can be. He talks in very short sentences, however I do my best to give my reply enough that you can reply to. Actions, and I chose to be very descriptive with his expressions in this case. Ruv spend many years alone, and sometimes with him, actions speak louder than words. When you or your muse figure that out is up to you.

WELL WE CAN’T DO AN ENTIRE THREAD IN A CHURCH.- I never said we had to. He is more than happy to leave the church should he want, and should there be a reason. Usually, (despite what it seems) he does like helping people, so you can lure him out that way ;)

#∘⡊ ☾ ˚⊹ 𝕽𝖚𝖓 𝕬𝖜𝖆𝖞 𝖂𝖆𝖓𝖙𝖊𝖉 𝕸𝖆𝖓 ⊹ — ❛❛ v. crossover. #∘⡊ ☾ ˚⊹ 𝕴𝖙'𝖘 𝕶. ⊹ — ❛❛ resources. #∘⡊ ☾ ˚⊹ 𝕴𝖙'𝖘 𝕶. ⊹ — ❛❛ psa & updates. #∘⡊ ☾ ˚⊹ 𝕴𝖙'𝖘 𝕶. ⊹ — ❛❛ save. #i added all i could think of #just so i could kinda help out when it came to plotting but #even if we don't know each others universes or anything #this is pretty comprehensive so i hope it helps #i spent a while on it and it should be pretty helpful to anyone who wants to write with me but has no idea how #now if you excuse me im going to scream because of how long this took #∘⡊ ☾ ˚⊹ 𝕾𝖎𝖓𝖋𝖚𝖑 𝕰𝖓𝖉 ⊹ — ❛❛ headcanon. #∘⡊ ☾ ˚⊹ 𝕾𝖎𝖓𝖋𝖚𝖑 𝕰𝖓𝖉 ⊹ — ❛❛ meta.

[laszlowrobinson]

A playlist that your character would actually listen to

It didn’t say to describe why they would listen to these songs, but I did it anyway because while idk anything about music I like to rave about it lmao

Spice Up Your Life - Spice Girls 

I mean the Spice Girls were and still are iconic spelled to sound like eye-con-eek. They were a good chunk of his childhood to adolescence since they WERE the 90′s. So not only is their music just, you know, great, it holds a very nostalgic place in his heart. I mean he for sure watched Spice World and didn’t give a single shit that it makes no sense. It didn’t need to, it was the Spice Girls hanging with aliens and chilling out on the bus in their iconic fashion. Anyone in that movie he will reference as their character from that instead of like oh Hugh Laurie from House MD? NO, it’s Hugh Laurie, Poritot from Spice World. Oh Stephen Fry? From Gosford Par? NO, it’s Stephen Fry, the Judge from Spice World. 

Anyways, while he would and does put their entire discography on, I’m putting this one in particular because it’s such a bop!! And their anthem. When the bitches were back for the 2012 Olympics, while they may have opened with Wannabe with choreography, (except Victoria who literally stood there Posing, the icon) they really went in with Spice Up Your Life okay, they rode around that stadium ON the cabs while singing it!!! It’s 100% the song that will pick him up off the floor. 

LA DI DA - EVERGLOW

What a song??? Holy SHIT. It may be only like a month old in its life span but it Hits, so it gets a spot on this playlist because as soon as I heard it I was like, “Laszlo would be obsessed.” It’s a bop, it’s a jam, it’s everything he could ever ask for in a song. First off, the production on it is just so good!!! The beats HIT and the clapping behind their vocals picks it up to another level. And that part where they like lmfao aggressively grunt?? after “Everglow forever let’s go.” amazing, brilliant, stunning, absolutely the best thing he has ever heard before. And then the VOCALS!!! The talent!!!! Like the range between all the girls is astounding, and I don’t just mean their vocal range. I mean ALL of it, the singing, the rapping, the power and then pulling it back for the softness until they come back to make heads bop for the chorus. Whew!!! Just such a good, pump up song that he can bop around too and that’s his favorite kind of music!! 

Gimme! Gimme! Gimme! (A Man After Midnight) - ABBA but the Cher Cover 

No disrespect to ABBA because Laszlo loves them, but he looooves Cher and while he would ALSO play her entire discography, this song just hits different sung by Cher in 2018 in her beautiful, earthy voice. And she did it so tastefully. She respected the original song by not turning it over into something completely lost to the track but it still felt like she was putting her own magical Cher-y blessing upon it as if it were her very own song. It’s like the perfect crossover??? He probably had an out of body experience listening to her cover album of ABBA and then going to see her in Mama Mia! 2. Plus, like, this song is also his life lmfaooooo where is his man,,, @ god (who is Cher, as confirmed on Will and Grace.) 

I Know A Place - MUNA

Not only is this song just...so good...but the lyrics of it really hit home for him. Like??? “Don’t you be afraid of love and affection/ just lay down your weapon”??? ow bitch. But it is a celebratory song!!! It’s about being able to be whoever you are and not having to worry about getting hurt or dealing with the bleeeh people of the world because they’re going to a place that’s safe and accepting, and that’s in LGBT+ spaces. And there are a lot of people who don’t feel safe and who are having to hide themselves, but this song is providing them a little slice of heaven to be themselves. It also serves as a reminder that there are places were you can be safe and happy and yourself and you will be accepted!!! And that’s just such a lovely message, and for music like this to be out there in the world for the youth makes him so happy! And the music itself is so funky and absolutely something that one can dance to. It has those places that slow down...and then HIT for the bopping around for the hype of the chorus!! UGH! and Katie’s voice still being sort of haunting really just brings it on home. This song is so good!! Stream MUNA!!!!! 

Paparazzi - Lady Gaga (TW: fake blood from 3:20-end of the video) 

I’m linking the 2009 MTV performance because I’m going to say that this was his first exposure to Lady Gaga and holy shit was it life changing!!! This was everything. Like the performance art of it really came for his throat. Spoiler alert: when the blood started pouring from her chest and the crowd like gasped and groaned??? It was a Cultural Reset!! She was singing her heart out and going all out on that choreography. Her foot up on the piano as she slammed the keys??? The set design?? SO GOOD! And her dancers? Shout out to them, because damn they really did that. So, not only is the song amazing, he will always associate it with hearing it to this performance and it is still such a good song!!! The lyrics are insane. She did this when she was 23, only a year older than him, and boy did it light a fire under his ass. 

And it also serves to keep him humble lmfao. Even though he isn’t Famous famous like his other family members he does have his own little corner of fame and can’t be out here falling in love with the attention. 

Coisa Boa - Gloria Groove

Honestly, anything Gloria Groove puts out is pure gold to his ears. They don’t have to go as hard as they do, but they do it anyways! The really pronounced instrument that’s going on? Their singing??? Going from rapping to hitting that note at the end of “Quer papo de ousadia?” absolutely sends Laszlo off the rails. Like, there’s no other way to describe their style than Iconic. It’s fun and fighty and gah! So good!! Also it just being about getting the Squad and going ham is just, chef kisses. Again, his favorite songs are things that get him moving and grooving, and this ones ticks all the marks and so much more. One day they will release an album and on that day someone should check to make sure Laszlo is still alive. 

Toxic - Brittany Spears

I mean what is there to say. The song is iconic, it came out when he was like 17. It was everything and still holds up today. The production on it still just boggles the mind. That like eeeeee sound??? The spy music break in the middle of it?? And the video!!! Art. The fact that she did the back handspring during the laser bit really just made him go insane. Cultural reset from the pop queen of the time. Turned him into a bigger Britney fan. Everything about it is so good. Another nostalgic one, but !! it still holds up baby!! If this is played he is legally required to perform. 

El Mambo - Mon Laferte

Her voice is just?? out of this world. Laszlo is a huuuge fan of everything she puts out but this one really just took him out. Like she can hit some powerful vocals and that’s what the beginning seems like they’re counting up to, but when she came out of the gate just rapping about this guy who needs to get over himself, woooowie. And then she comes back for that mambo sound in the chorus and her beautiful voice going In, ugh. UGH. It’s so good!!! She is amazing and the instruments on this one really highlight that as well as making it groovy enough to dance around to as we say goodbye to toxic men and their overwhelming jealousy!!

Too Little Too Late - JoJo

I’m linking to the 2018 version because JoJo re-releasing all her music so that she can get the cash money from HER music is...stunning, amazing, love her and love that for her. This song was yet another cultural reset. And you know what, she just got better. Her vocals kick ass and the lyrics are still just as good as they were when they first came out. That high register run she does toward the end??? Okay?? go off!!! Another song about a wonderful lady kicking a man out of her life and becoming better for it. also she JUST came out with a Christmas album so go stream it. 

Endless - Frank Ocean

Now this is the whole album because, honestly, that’s how it’s supposed to be listened to. There’s also the visual element that you’re supposed to watch while listening, but since that’s like no where to be found since Mr. Ocean’s people snatched it all up from the internet unless you want to buy it off Apple, this is all we get to work with. Which is fine, honestly. ANYWAYS, this whole album is just so beautiful. And no one really knows the full story behind where it came from or why Mr. Ocean made it, and that’s a whole over layer as to why Laszlo adores it!! Not only is the music stunning but the mystery surrounding it gives him life. Frank Ocean is another artist that he could press random on the entire discography and be happy with whatever decided to play, but THIS album is his favorite from the man. It may seem like the outtakes from Blonde but to Laszlo, they all feel intentional. It’s like peaking into a sketchbook versus the novel of Blonde, and that appeals to him!! There is a certain effort that needs to be put in to listen to it by finding it. So it’s that little bit of extra artistry that makes this album hit different than the others, plus the songs, though some very VERY short, are all GREAT. Every song has this sort of improv feeling almost? but feel effortless like all his other music. Some of them are really short, just snip bits of a song, but they don’t feel that way with how they flow together and cut one another off and it’s just a weird entity of music that feels fleeting and yet...endless. 

#bdrpwrimo #bdrpwrimosid

[agentelmo]

The X-Files MSR Analysis Series: Season 1 Episode 9

“Space”

Previous episode analysis - 1x08 Ice.

What can I say about Space.  Other than “oh dear”, quite frankly.

But let’s not focus on the quality of the episode - we’re here for the MSR! 

Eh...

Ok, so in terms of the MSR, this episode isn’t much to write home about either, but it has a moment or two.  The most significant aspect of it overall is how it shines a bit of light on how Scully can respond sensitively to Mulder, even when he might not deserve it.  In this instance, it’s regarding his childhood hero-worship of Colonel Belt.  She teases him about it at first, but when the shit starts hitting the fan, her tone changes and you can see she’s much softer with him by the end.   

There are other elements of their relationship on display here, such as their working dynamic - again - each holding their own half of the truth that when put together solves the case.  But that doesn’t happen until the very end.  Throughout the majority of the episode, Mulder and Scully are on the same page - there’s no obvious paranormal involvement from their perspective until the final act.  It’s a very strange episode...

So we start with Mulder and Scully just chilling on a set of stairs as their contact arrives.

That’s not an awkward pose at all, Mulder.  I feel like he could be seconds away from letting one rip.  Sit down again - quick man!

As in most season 1 episodes, there is always a little scene of mundane ordinariness that fascinates me.  I like seeing Mulder and Scully really rooted in the real world, and just chilling on some steps in Washington D.C. on a sunny day feels plausible.  This is what an FBI agent might well do.

Also, hello there oral fixation.

Was it David Duchovny that first pointed this out about Mulder?  That the guy must have an oral fixation because he’s always tonguing a sunflower seed?

Ya. Tonguing.

It is also established (much later in season 2′s Aubrey) that it’s something his dad did when he was a child, so it seems this is a habit Mulder has adopted - in a way it’s quite interesting that the episode starts with a link to Mulder’s father, as another father figure to Mulder pops up later.  

Anyway, this munching on the sunflower seeds is one of his many idiosyncrasies that we learn of over the years.  

Still, if it is an oral fixation no one is gonna complain about the fact Mulder is substituting titty for sunflower seeds... I’m sure many a fanfic has been written based on the premise that Mulder is quite adept with his tongue as a result of all that “practice”.

Or it could just be that he really likes sunflower seeds, but hey ho.

So next Mulder and Scully head over to Houston and the NASA Space Centre to investigate the apparent sabotage of the shuttle Orbiter.

Pfft... Orbiter.  Atlantis was always my favourite.  You ever see the movie Space Camp?  Would totally recommend.

They are driven around on a little golf buggy thingy-mah-jig and there’s some straight up inappropriate staring going on.  

Right at the beginning Scully is staring at Mulder’s mouth as he talks.  I think all that sunflower seed tonging did a number on her.  She’s been reading those titty-lickin’-good fanfics, guys.  

I won’t subtitle the gif, because Mulder is just waffling - think of it as what Scully is hearing when she stares at his mouth.  Seriously, just look at her eyes.

“Hoo boy, he is pretty cute...God damn it.  Wait, what has he been saying?”

Also, look at all the space Mulder has beside him, and yet they’re sitting squashed up like this - very much in each other’s space.  I think what happened there is that Scully got in first, and Mulder just scooched up as close as possible, because Scully, amirite?

Don’t worry, Mulder gets in on this inappropriate eyeballing too.  The eye line suggests to me he’s checking her out.  See it?

EYES UP HERE, MULDER.

I like that he immediately looks away too. Smooth move, Mulder.  Don’t want to get caught checking out your partner’s “assets”.

Don’t give me that withering look, I haven’t got much to work with in this episode, so let’s make the most of every last second we can find!

The scene itself is quite nice in terms of their dynamic, because this is typical Mulder-Scully fare.  She asks a question and Mulder goes off on a spiel answering her in the form of Mulder Story Time.

Bless you, naive 1993!Scully.  Forget the X-Files, oh what geopolitical horrors lie in store for you.

Then of course we get to the meat and potatoes of it - why might Mulder be interested in a case like this?  The clear NASA involvement in a cover up of the existence of certain “evidence”.

I love how Mulder pauses with a knowing smile.  He anticipates her snarky response, but there’s no malice.  I’ve pointed this out in a few of the episodes thus far, and I love it every time.  Just the ease that they have with each other, they’ve already become each others best friend at this point - especially Scully to Mulder.

The next scene is all Mulder regressing into a 14 year-old boy again as he walks the halls of the Space Centre.  This makes me kinda sad now, because this child-like enthusiasm and glee for space exploration is everything he wanted to share with his son - William.  

Which we see in season 10′s Founder’s Mutation.

I’m just never gonna be okay with the fact Mulder and Scully missed out on being parents to their own child.

Never.

The fact Mulder dreams that he passes on this passion to him, and that William himself dreams of going “up there some day.”

Really, it does kinda make this next scene in Space a tiny bit heartbreaking with hindsight.  Look at how excited he is.  

He’s such a puppy.  So excited.  If he had a tail he’d be wagging it right now.  Why is it heartbreaking?  Because we’re getting to see a little bit of how he would have been as a dad.

It’s okay, take a moment.  I know I am.

Scully is being a bit of a stick in the mud here, but it’s fine I guess.  She doesn’t share his interest.  Her little smiling eye-roll seems to suggest she finds this behaviour from him to be a mix between endearing and pathetically cliché.  But it is actually kinda strange that Scully wasn’t interested in the space program growing up herself since, you know, she did her undergraduate degree in physics!!

So they meet this Colonel Belt and oh my word, Mulder acts like an utterly embarrassing fanboy.

Like, seriously... he can’t stop himself.

Mulder, you do remember you have a job to do here, right?  I find this little bit quite amusing since Scully is utterly no-nonsense with Colonel Belt and Mulder is one step away from clapping his hands over Scully’s mouth and then dragging her out of the room all the while profusely apologising.

“I have no idea who this person is; she is nothing to me.  I love you.”

Poor Scully is not enjoying being backed into a corner by the Colonel’s belligerent attitude...

...and is even less impressed with Mulder’s lack of support as he stares doe-eyed at Belt complete silence.

He knows he’s effed up; look at his face as he closes the door.

If I was to look a little deeper into why Mulder might idolise Belt to the point of making a fool of himself, I’d say it might have something to do with the fact that he came to idolise Belt at roughly the age of 14 - two years after Samantha was taken.  We come to know later in the series, that Mulder’s father was never around much after Samantha’s abduction, and I suspect not much before that either considering what his job was.  

His relationship with his father is strained now, as it was then, and I believe in season 1 they are totally estranged.  So after two years of having an absentee father, Mulder would have understandably needed another father figure; a hero to look up to.  Perhaps that’s what Belt is for him?  A heroic figure he looked up to in place of his father.

It would explain why he is so dismissive of the idea that Belt could be involved in sabotage when, so far, all evidence points to him.  He can’t conceive of his hero not being who he thought he was - the betrayal wouldn’t be to his adult self, but the 14 year old boy he was.

They head over to Mission Control to watch the launch of the shuttle Orbiter, and I have to mention this, it’s totally not relevant to the MSR but the music during this sequence is very strange - go back and listen to it.  It sounds very similar to the X-Files opening theme played slower and off-key.  Weird!

The launch is a success and Mulder is still being a huge nerdy fanboy.  Look at how happy he is, geezus, I don’t think we’ve seen him this happy about anything, ever.  Scully is completely unmoved - c’mon, lighten up, Scully.  Still feels a bit silly that she would be this disinterested. 

He’s so happy to have had one of his boyhood fantasies fulfilled, but he’s getting nothing out of her - she’s just so full of snark.

Why, Scully?! Chill out, woman!  I guess it’s because I would totally find this as exciting as Mulder does.  When I was a kid I definitely did have that dream of being an astronaut.  Went to college and studied physics myself (and psychology - I was trying to choose which direction I wanted to head in, and ended up being more Mulder than Scully) I didn’t have posters of boys on my bedroom walls, I had star maps; the shuttle Atlantis; one of my favourite movies of all time is Contact.  I totally get Mulder’s enthusiasm.

Her attitude here kinda reminds me of the season 7 episode First Person Shooter too, where Scully starts ragging on video games as being pointless, violence-inducing, clap-trap while Mulder tries to get her onboard with his childlike enthusiasm.  I also love video games, so I was always on Mulder’s side in that episode too.  So yeah... sorry Scullz, but I’m with Mulder on this one!

What’s so endearing about it though, is that this stuff is important to him and he keeps trying to get her to be excited about it along with him - he wants to share that joy with her.  

But before they leave and drop the case, something has gone wrong with the Orbiter and they’re called back to Mission Control.

On the way, there is a car accident where the contact from the beginning of the episode - Michelle Generoo - flips her car after seeing a ghostly grotesque face come at her in the fog.  

It’s the first hint of the paranormal about this case to Mulder and Scully, but they seemingly pay it no mind at all.  Not even Mulder, which is surprising.  I guess he just thinks she lost control of her car.  But he doesn’t say so... it’s just treated like she didn’t say it at all.  Odd.

Then back at Mission Control, Mulder starts to do something that grates on me just a tiny bit.  He starts explaining everything to Scully after it’s already been explained by the other characters.  I mean, it’s not like you need to be a NASA nerd to understand what they are saying, so it comes off as a teenie tiny bit like mansplaining  - sorry Mulder!

And again, Scully has a physics degree!  I think she would pick it up just as well as Mulder does.  

I get that in the context of this being a TV episode he’s explaining it as much to us, the viewers, as he is to Scully.  But still... perhaps it should have been a conversation between them, giving Scully the opportunity to show she does understand what is going on rather than him just talking at her like a complete ignorant.   I could write it off if it just happened once, but it does happen several times in the episode.

Wait, I’ve worked it out.  Coming over to explain everything to Scully gives Mulder an excuse to be a space invader -  whispering in Scully’s ear.  Cracked it!

Ok that’s fine, I’m totally fine with that.  Mansplain away, Mulder.

Whilst trying to work out who is sabotaging the shuttle, Mulder and Scully start running around the Space Centre waving their guns about.

Mah badass baby Agents. Pew pew!

But when they return to mission control they look like they’ve just been caught having a fumble in the NASA stationary cupoboard.

Now that things are going seriously wrong with the Orbiter and peoples lives are in danger, Scully seems to soften.  When Mission Control successfully reestablishes communication with the astronauts everyone in the room goes wild, and Scully finally allows herself to feel it... a little bit, at least. 

She’s still holding back compared to other people in the room, though.  Perhaps after all the ribbing she’s been giving Mulder, she feels embarrassed about just letting go and enjoying the moment with the same joy he does?

Don’t wanna give him the chance to lay down an “I told you so!”

Which would fit a pattern of behaviour we see from Scully as the show continues.  A reservedness that she can’t fully let go of; she can’t always fully let Mulder see her and how she’s truly feeling - she’s not good at being vulnerable with him.  But I don’t think this is anything specific to Mulder.  She does it with everyone - her family too.  As we come to know Scully, we come to realise she doesn’t like letting things in... or letting people in, either.

Admittedly, this is a very minor example of it, as we see her totally embrace the joy of the mission’s success later.  Wait for that gif... it’s literally the best moment of the episode because Scully is just so painfully beautiful.  

Mulder is just insane to not be going after this woman.  ANYWAY...

Before we move on... since we focused so much on Scully’s reaction, lets check out Mulder’s too.

♫ I’m a little teapot short and stout ♫  Come on, sing along everyone!  ♫ Here’s my handle and here’s my spout! ♫

♫ Tip me over and pour me out! ♫  Please, Mulder... never change.

Colonel Belt then gives a press conference to update the media on the mission’s progress, and he lies.  He tells the reporters that everything has been plain sailing and there were no issues at all.  Upon hearing this, Mulder is clearly feeling let down and naively disappointed.  But this is 14 year old Mulder, not 32 year old Mulder’s feelings here.  He’s still looking at Belt the way he did when he was a kid.

“When all my childhood dreams are being crushed to dust, I make this face.”

Alright, Scully... no need to rub it in.

Look at her face, I think she’s probably disappointed for Mulder, as much as anything, but that comment did feel a bit brutal.  I think it might have clicked for her by now why thinking this guy isn’t who Mulder believes he is, is so painful for him.  It’s not just about a childhood hero being a disappointment.  It can’t just be that, because Mulder really is pushing back against the idea Colonel Belt is a bad guy for no other reason than “he’s an astronaut too” - the evidence just keeps pointing to him.

Mulder chases down Colonel Belt and questions him about why he lied to the press.  The answer is already pretty obvious really, as Michelle has already told them - the government is looking for any reason to shut down the space program.

Belt explains that the astronauts do what they do for no other reason than the progress of mankind. Mulder’s response to this got me thinking.

True American heroes.  

Mulder worships these people, and sees them as not just heroes, but American heroes.  I think Mulder is actually quite a patriotic person.  There are odd comments here and there throughout the series which points to this.  His defending the American position during WW2 in Triangle; baulking at Scully’s preference for no butter on her popcorn calling it “un-American” in Je Souhaite.

I’m sure there’s many more I am just not recalling right now, but I think Mulder resists acknowledging Belt isn’t the hero he thought he was, because doing so not only kills the heroic figure of Belt from his childhood, but also erodes his view of America.  The positive patriotic view of America that NASA and the space program helped to instil, particularly in the 1960′s and 70′s when NASA was at it’s height, which is when Mulder grew up.

I suspect this is something you can only truly understand if you are American yourself, which I am not.  Patriotism is a funny old thing in Britain, mostly frowned upon.  So I have a certain view that I can’t deny when watching this episode - Mulder being patriotic is kind of jarring.

I know this is not MSR related exactly, it’s more to do with Mulder as a character, but it does come back up again later towards the end of the episode in a conversation with Scully, so... that kinda counts??

As another crisis on Orbiter unfolds, Mulder and Scully run around looking for Colonel Belt like a pair of errand monkeys.  They really do have nothing to do this whole episode.  Belt arrives at Mission Control and chooses to risk the astronauts lives to continue the mission to deliver their payload.  

Mulder looks like Belt just kicked a puppy, while Scully silently judges you.

I always thought this face was something she perfected over the years, but you know what?  She’s actually got it down pat already.

Michelle rushes out of Mission Control believing her fiancee aboard Orbiter has just been sent to his death and Scully agrees; Belt is acting very strangely and taking unnecessary risks. 

This is where we have the classic stalemate between Mulder and Scully, where she is right, but so is he.  Belt is compromised and “losing it” as she says.  He does know what is going on, and has known about it from the beginning, she believes he’s covering it up so that the mission can continue despite the obvious risks to avoid the space program being shut down.

She’s pretty much correct on all accounts, funnily enough.  But so is Mulder, who says Belt isn’t sabotaging the mission, he’s desperately trying to save the astronauts.  He wants to believe that Belt is a hero, and that what he’s doing he’s doing because he wants to save the men.

Amazingly, the paranormal aspect of this episode has still not been fully revealed to Mulder and Scully and we’re 30 minutes in at this point.  They both now need to prove whether or not Belt knew about the sabotage of Orbiter and so they start to go through all the documentation they can find.

I have no idea why this picture of them sitting cross-legged on the floor makes me happy, but it does.  I love it when they look like baby Agents!

Now Scully points out that finding any documented proof of Belt’s involvement is going to be like looking for a needle in a haystack, but apparently looking for a needle in a haystack isn’t as difficult as one might imagine, because they find the proof of his involvement pretty much immediately.

Within seemingly a few hours, Scully not only finds proof that Belt knew about the faulty components on Orbiter, but Mulder also finds that he was aware of the fault that led to the Challenger explosion.  Yikes.  

But before they can do anything with this information, Michelle informs them that Belt has collapsed in his office.  They rush off to find him.

Why hello, hello, hello, there.  If it isn’t our good friend Back Touch with a side order of Helping Hands.  Please, no, touch me more, Mulder, I insist.

They arrive to discover Belt babbling like a loon.  Then Mulder says...

Ummmmmm... Mulder?  You do know that your partner is a medical doctor, right?  I wonder if this is the reason why she feels the need to state this fact quite so much as the series goes on.

Why he needs a doctor I don’t even know, because it turns out, Mulder is secretly a doctor too??

He must be since he disregards the opinions of both Scully and the paramedics to do this focus your pain on my finger mumbo jumbo.  Why those paramedics didn’t just tell Mulder to get the fuck out of the way, I have no idea.  Scully, the actual doctor, says that what Mulder is doing is killing him.  But he just ignores her.  

I suppose this is a sign of the trust that she has in Mulder that she allows him to continue this, because if she didn’t think the information Mulder was trying to get was worth the risk, I don’t think she would have let this happen.  Belt does, in fact, almost die and they have to break out the defib to get him back.

Scully took a huge risk there, if he had died, she and Mulder would be on the chopping block.  Even when they have diverging viewpoints on things, when the shit really hits the fan they tend to have each others back.  So this is another example of the faith Scully has in him, even when it seems like he might not deserve the benefit of the doubt - something we learnt she is prepared to do in Ice.

The weirdest part of this whole scene though, is that Scully is finally allowed to see something paranormal - she witnesses the ghostly image appear over Belt’s face, but doesn’t seem to react to it at all!  Even Mulder doesn’t focus on that aspect of it, he single-mindedly keeps trying to get the information needed to save the astronauts from Belt.

Although, maybe Mulder saw the cruddy Pac-Man ghost SFX used for the space possession sequence and decided that shit is bananas.

B.A.N.A.N.A.S.

Mulder somehow gets what he needs from Belt, so he and Scully rush to Mission Control.  Fortunately, they get there just in time, and the shuttle comes down to Earth safely.

Then, as promised, the best 1.5 seconds of the episode.  Which I have slowed down for your viewing pleasure.

Honestly, she is so beautiful.  How does Mulder resist that smile?

After all the drama is over, we see Belt in his hospital room, still being terrorised by the ghostly entity.  Seemingly not being able to take it anymore, he throws himself out of his hospital room window, and to his death.

The last conversation between Mulder and Scully is quite a tender one, it’s the most they interact in a meaningful way throughout the whole episode.  There’s no more reproachful teasing, Scully understands that Belt meant something to Mulder and so she is very gentle with him - even her tone of voice changes.

I’d like to think that at some point during this episode, Scully recalls that Mulder’s childhood wasn’t especially great past the age of 12.  Mulder had specifically pointed out earlier that his hero-worship of Belt started at around the age of 14.  

Even though Mulder is basically suggesting that Belt was possessed and whatever possessed him forced him into sabotaging the shuttle, Scully doesn’t really challenge him on it.  There’s no point anymore since the case is closed, but also I think she is being kind to Mulder. 

Mulder suggests that Belt gave his own life to kill whatever it was that possessed him. 

With that reverent look on his face, Scully can no doubt see that Mulder wants to keep looking at Belt as a true American hero, and as a result Mulder is somewhat twisting Belt’s actions into some kind of heroic self-sacrifice, when actually, from what we see of his suicide, he was simply so tormented by this entity that he just wanted it to end.    

Mulder seems incredibly reluctant to see Belt as anything other than the true American hero he grew up believing him to be.  Perhaps it’s too painful for him to do otherwise.

Immediately after this scene, we’re at Belt’s funeral with the American flag draping his coffin shown prominently on screen.

The episode even ends with a close up of the flag.

There is something intrinsically linked between NASA, the space program and American patriotism.  It’s not something I ever really thought too much about with regards to Mulder’s character before, but he too, is an American hero.  Being the product of the 60′s and 70′s, Mulder grew up with the national pride and euphoria of NASA’s heyday.  As a result, Mulder too, carries the American pride that was symbolised by Belt and the space program - these were people who do what they do for nothing more than the betterment of mankind.  Isn’t that, in some ways, a little bit like Mulder himself?  Sacrificing so much to his pursuit of the truth to - in the end - save humanity from an alien invasion.

Belt would be proud.

In the end, though.  It’s not really explored.  Just left as another thread that makes up the tapestry that is Fox Mulder.

Next up... 1x10 - Fallen Angel.

#thexfiles #x files #txf gifs #txf meta #txf analysis #x files msr analysis series #msr #fox mulder #dana scully #david duchovny #gillian anderson #chris carter #txf 1x09 #space

[thedestinysunknown]

Sly Raccoon:

Genre: Platform;

Console: Playstation;

Year: 2002;

Story: "Master thief Sly Cooper, with the help of his friends Bentley, a talented hacker and technician, and Murray, the gang's getaway driver, breaks into Interpol's offices in Paris to obtain a police file on the Fiendish Five, the world's five most wanted criminals. Despite being ambushed by his nemesis, Inspector Carmelita Montoya Fox, Sly escapes. As the gang returns to their hideout, Sly explains that he is descended from the Cooper Clan, a family of thieves throughout history, who maintained a book, the Thievius Raccoonus, to record their unique skills and abilities for posterity. The night Sly was to inherit the book, the Fiendish Five murdered his parents in front of him and stole the book, dividing it into five pieces before going their separate ways. Sent to an orphanage, Sly formed a gang with Bentley and Murray, vowing to one day exact revenge on the Fiendish Five and restore the Thievius Raccoonus. (info from the wikipedia). Time for more Platformers.

Gameplay: in this game, you play as Sly in 95% of the stages. Most of the levels are your typical platformer (with some stealth elements involved). As Sly, you can jump, grab with your weapon into different spots, climb some stuff, stealth and attack your enemies with your weapon. For the most, this is your typical platformer, but what's so special about this one? This game has a pretty big focus on stealth and platforming, which sounds like a terrible idea (I'm not a fan of stealth), but this game manages to combine both genres and do an incredible job. In each level, you have 3 main collectables. First, you have the keys. The keys are the most important thing in each level, because you need them to beat the stage. Then, you have the bottles. If you collect all the bottles of the stage, you will get a code that you can use it on a safe. In each safe, you will unlock a new ability. Most of them are new moves, but you can also find some abilities that will help you find all the bottles from the other stages, or you will unlock an ability that allows you to know more about your enemies. The last collectable is the "Master Sprint". As you can expect, Master Sprint is your time trial of the game. If you beat a level in a specific amount of time, you will unlock some commentary from the creators, for that stage. Basically, you unlock some trivia for that stage. As I said, not all the stages are platforming focus. There's some "special" stages, where you will play a different type of game. This can go from Racing (I hate both levels so much -.-), shooting and more.

Graphics: this game may look like a cartoon but it looks so amazing. I love the graphics of this game so much. It's like the game XIII became a platformer, and instead of having humans, it has animals as characters.

Soundtrack: it's a very entertaining soundtrack. It fits the mood of the game perfectly.

Final Thoughts: I love this game sooooooo much. It's one of the most entertaining platformers I ever played. It's too good. This is one of those games that I always wanted to play fully, but only recently I got the balls to buy it on the Playstation store, and play it on my Playstation 3. I had so much fun with this game as a child, and I had even more fun as an adult. This game will easily get the 10 out of 10.

PS: I do not own the footage of these gifs. The content of these gifs are from a Youtube video. Click HERE, if you want to check out the source.

#sly raccoon #sly cooper #ps2 #ps3 #review #gifs #playstation #games review

[zak-animation]

Mystery Box: An Introduction to Animatics

In this week’s animatic masterclass, we were introduced to the idea of an animatic as a way to plan our animations. Whilst we had the opportunity to create our own animatic, I first wanted to delve into the use of animatics in the industry of animation, looking at a few examples and the purpose they serve in the production of an animated sequence. This isn’t in response to any points from Helen herself, who simply gave us the task and how to produce it in the given software, but instead, this post is an opportunity for me to develop my own independent research into the use of animatics in animation.

What is an Animatic? Last week, we explored the idea of storyboards, and how these hand-drawn frames can show the stages of a scene in rough camera placements. Here, issues with the story can be fixed easily, and allow the director/s to tell if the story is clear and works as a visual narrative. However, storyboards cannot tell us the timing or pacing of the sequence. To do that, editors and artists take the storyboard panels and translate them into an animatic.

In its most basic form, an animatic is a collection of static storyboards edited together into a sequence. Using an editing package, we are able to put the storyboards into a timeline and see how the timing works for the animation, even adding cuts and camera movements which are often timed to any dialogue or music that will be used in the final product.

Similar to storyboards, animatics are used to bridge the gap between an idea and a finished animation. We need to see how it might feel, and ‘get more of a grasp’ of the scene. In contrast to storyboards, animatics are very particular to animation. They are a way to layout the timing, pacing and the visuals of the entire thing without having to create it in animation. Animatics are used to get the flow of camera work, pacing and characters interactions. Typically, the sketches in animatics are rough and instead focus on timing and pacing, rather than appealing illustrations.

Industry Practices In an illuminating video revealing the entire CG animation pipeline at Dreamworks Studios, lead editor Nick Fletcher explains the process in a way better than I ever could, simply because it’s his job to create animatics for Dreamworks’ feature films. 

‘We take the storyboard panels and build a sequence out of those. Some times, we don’t have any dialogue, so we record ourselves doing the voices. We add a little music, sound effects and whatever is needed to fully tell the story. Try to make it as polished as possible so that the storyboard reel [or animatic] becomes a sort of foundation for the movie.’ 

Nick Fletcher, Editor and Animatic Creator for Dreamworks

In this early stage, the actors haven’t yet recorded their performances, so the editors effectively produce a rough pass as a way to present a preliminary vision of the film to directors, producers and executives, who will then green light the project to the next stage if they like what they see.

Interestingly, the inclusion of sound is a characteristic of almost every animatic I’ve come across, whether it be for a feature film animation or fan-made short on Youtube. Sound is a key part of producing an exciting and engaging animated film, and it’s not something that I want to disregard for this project either. When filming my own reference, I had the opportunity to verbally act out the performance and as such, I’ve essentially already got a rough audio track for my animatic, if I choose to include it. Despite the fact that sound isn’t mentioned in the brief, I feel like it could only be a good idea to include this aspect as a way to again push the limitations of this assignment and produce a piece of work that is of an industry standard: this is something that I want to consider when creating my own animatic.

With animatics, the drawings are often loose and sketchy: the focus is on telling the story and simply working out the timing and pacing of the sequence. A common industry practice of both storyboards and animatics is the use of spot colours or shading to simply separate the background and foreground, rendering the main characters in a shade of grey different to the background and foreground elements to direct the eye to the most important information and focal points of the shot. In my own animatic, I plan to produce a sketched version using simple line work and develop upon this by adding a grey tonal value to each of the elements as a way to evidence an understanding of key industry practices.

One final aspect to consider when creating an animatic is the program itself. After doing a little bit of digging online, I’ve found that the industry standard for animatic production is a combination of Adobe Photoshop to draw the frames and to sequence them using After Effects or Premiere Pro, both of which allow us to add cinematic touches and camera movements in this early stage. Already, I’ve had the opportunity to explore the use of virtual cameras within After Effects, and I can see the potential for more complex shot types and camera movements to be created simply using this technique of changing 2D illustrations into 3D flat objects that a virtual camera can then move around to give the illusion of depth.

Into the Spider-Verse: A Cinematic Approach This idea of a cinematic approach to animatics, making use of more complex shots even at this early stage in production, can be seen in Alberto Mielgo’s initial animatics for the massively successful Spider-Man: Into the Spider-Verse. Mielgo created the tests using the Adobe Creative Cloud suite, drawing with pencil and digitally in Photoshop, and compositing the sketches in After Effects before doing any final editing in Premiere.

The shots are intensely cinematic, presenting a new vision of a hand-drawn, 3D world. This example represents a more complex approach to an animatic, as Mielgo presents an inherently cinematic, hand-drawn 3D world. Through panning virtual cameras and zooms through converted 2D illustrations, the audience is able to get a sense of the scale of the film and the city of Brooklyn. Looking at these animatics, there’s a clear understanding of editing and cinematography here, with a mix of blurred lenses, fades and cuts that outline the overall look and feel of the final film.

Here, Mielgo was creating key moments and shot compositions that the final film still adheres to, with his initial animatics playing a key role in establishing the film’s stylistic visual language and a new, snappy approach to animation. The idea to use comic book panels, illustrated onomatopoeia and an experimental approach to composition was the work of Mielgo’s early development in the project, and within these, we can see how an animatic can be used to plan out the action not only in terms of layout and timing, but also the visual language of the film and even more editing elements such as how to cut a shot.

Gorilliaz: Animatics in Music Videos Animatics can also be found outside of the realm of animated feature films, however. For example, we can take a look at an animatic from the legendary animated band Gorillaz, an experiment blending animation and a genre-bending array of musical tastes that has become a world-wide hit since they first dropped their debut single in 2001, with ‘Clint Eastwood’. The song and music video are one and the same, each working to build off the other, and exemplifies the band’s use of mixing musical styles: combining hip hop, electronic and dubstep influences to defy musical genre, and instead embrace storytelling.

In the animatic for ‘Clint Eastwood’, we can see how the creators were able to pre-visualise their sequence by moving the camera around the 2D illustrations, which instantly gives the flat designs a sense of depth and cinematic charm. The slow arcing motion of each of the band members is shown clearly in the animatic, a shot that is now iconic to the band itself. It’s important to note that for the more complex moves, still images of the characters are used to act as visual place holders for the animation. With this example, the focus is on getting that smooth arcing camera movement, and focusing on each singular band member, and as such are represented with still frames. This is a common industry practice, and as such, animatics typically have little actual animation. Rather than a series of frames to create the illusion of movement, an animatic presents the action across a series of storyboarded panels that convey the motion through rough drawings.

Something interesting to note about this particular animatic is the varied use of mediums that creates a very tactical effect that hammers home to the audience that these sequences are created by hand. In a music video, one important element is the use of lip-synching early on - and as such, the animatic presents a nearly fully-animated lip-sync, animated traditionally on paper. This allows the animators a more considered and polished visualisation of the sequence to work from, and since it is a focal point of the video, it seems natural to want to develop upon this early on in the project.

Looking at the animatic, we can see how the creators have used a mix of near-fully animated sequences and moving still images to convey the story of the video. With more complex shots including detailed landscapes and multiple characters, only a handful of frames are shown - but it’s enough for the directors and creators to work from. In these more dynamic compositions, the characters are rendered with simple stick-figure bodies, taking the focus away from staying on model and more on sketching the shot and timing correct.

Additionally, the animatic also uses a range of camera effects to give the illusion of depth to these 2D characters, using a shaky cam to demonstrate a character jumping and slamming down onto the ground or arcing pan-up movements that evoke a real sense of cinematic composition and camera work - going beyond the traditional animation approach. It was quite interesting to see how the editors would recycle animations and shots for the video, allowing creators to save time using cycle animations for certain shots. Comparing these animatics to the final shots demonstrates how crucial and helpful the animatic is to a project like this: despite the colours, final polish and smooth animation, the sequence has effectively stayed to the initial compositions and camera movements outlined in the animatic.

Summary In this post, I’ve been able to explore the use of animatics in the animation industry, taking the time to delve into some examples that I personally find inspiring and exciting, and how these ultimately outline the final feature. As an animator, creating an animatic is interestingly something that I’ve never actually done before. However, I can really see a benefit and the purpose of doing so - and with this, my next move is to take the ideas that I’ve found here and apply them in my own creative practice: developing my own animatic based on my final storyboard.

References

Into the Spider-Verse Storyboards. (2019). Alberto Mielgo. https://vimeo.com/311716775. 

Clint Eastwood (Animatic). (2010). Gorillaz.  https://www.youtube.com/watch?v=JPC0n_ml4kc Clint Eastwood. (2001). Gorillaz.  https://www.youtube.com/watch?v=1V_xRb0x9aw

What is an Animatic? (2014). Pluralsight Creative.  https://www.youtube.com/watch?v=3sE5ox9kkUg

CGI Dreamworks Animation Studio Pipeline. (2016). CGMeetup. https://www.youtube.com/watch?v=ru0tQRJ4qKs&t=249s

#ba1b:mysterybox